Joke(Jo-An) Bennis
Joke(Jo-An) Bennis (born 1960) is a Dutch self-taught painter known for her expressive blend of realism and impressionism. From a young age, drawing sparked her deep connection to the visual arts. Over the years, she mastered realistic painting techniques, creating striking portraits of people and animals that capture both likeness and soul.
Her current work often explores cityscapes and landscapes in a more impressionistic style — vibrant, atmospheric, and rich in texture. This evolution reflects her creative journey: one rooted in precision, now blossoming into expressive freedom.
In addition to her own artistic practice, Joke is a passionate educator. She offers lessons and workshops in small, intimate groups, fostering personal growth and artistic confidence in each student.
Joke(Jo-An), your artistic journey has taken a bold turn since 2016, shifting from realism to a richly textured impressionism. What inner necessity or external influence compelled you to surrender precision for atmosphere, and what freedoms or constraints did that shift unveil?
I still create realistic paintings, but I also paint in an impressionistic style. This shift was driven by a personal urge- working only in realism started to feel a bit monotonous, and I craved more challenge. Painting more loosely, using layers, and especially working with a pallette knife opened up an entirely new world for me. My goal is to find a harmonious balance between realism and impressionism, and I strive to integrate both styles into my work.
Cityscapes are central in your oeuvre, yet they often transcend geography to become emotional landscapes. What draws you repeatedly to the urban environment, and how do you decide whether a city becomes a subject, a symbol, or a memory on canvas?
Cityscapes are highly rewarding for impressionistic painting. Every city or village around the world has charming, cozy, and beautiful spots. I aim to capture the atmosphere, experience, and regognizability of these places in my paintings. Human figures also play increasingly prominent role in my work.
Your technique thick layers applied with a palette knife and robust brushwork—invites a tactile reading of your paintings. How do you see the relationship between material texture and emotional texture in your work?
I build up my paintings with firm brushstrokes and thick layers of paint, gradually adding color until I'm satisfied. For me, both texture and color serve as tools to convey emotion.
The fact that your painting was presented to King Willem-Alexander during the reopening of Breda Castle marks a cultural milestone. How do you view the intersection between art and national heritage in this gesture, and what role do you believe contemporary artists play in shaping collective identity?
My painting "Panorame Kasteel van Breda" portrays my modern version of the building complex as it exists today. Since it's now permanently archived in the records of Breda Castle(KNMA), it holds historical significance. It's also housed within the Royal Collection, and presumably documented there as well. I believe contemporary artists contribute to collective identity by capturing the present world in their own unique ways.
You are a self-taught artist in an era that often privileges academic credentials. How has autodidacticism empowered or challenged you in developing an authentic voice within the contemporary art scene?
I'm frequently asked whether I have an academic background. My belief is that everything I need to know can be learned trough self-study--taking courses, observing other painter'techniques, and persistently experimenting on my own.
From murals to miniature painted mailboxes, your artistic practice embraces both monumental and intimate formats. How does scale influence your creative decisions, and what conversations emerge when you shift between public space and personal object?
I paint purely based on what I enjoy--whether it's a mural, miniature painting, canvas, wooden panel, or mailbox, in oil or acrylic. Each format demands its own approach and insight, which keeps the process fun and varied for me. In public spaces interesting conversations often arise, like "How long does this take?""Where is this?"or "How do you create it?"
Your paintings have been exhibited from Miami to Berlin, yet remain deeply rooted in Dutch visual culture. How do you navigate this duality between local sensibility and international visibility in your artistic language?
Exhibiting abroad allows me to engage with a different audience, and I primarily receive feedback through Instagram, Facebook, or TikTok. I often paint cityscapes of international cities, so my portfolio isn't exclusively Dutch. I also explore themes and subjects that go beyond Dutch culture. While I currently exhibit at Dutch fairs and shows, I hope to be physically present at international fairs in the future.
In a digital age where visibility often depends on algorithms and rapid consumption, how do you protect the contemplative quality of your work from being reduced to mere visual stimuli?
It's certainly challenging to maintain depth in this fast-paced digital era. With my City Paintings example, I aim to provoke curiosity--prompting viewers to wonder about the location or to reflect on the techniques used.
You’ve described your practice as continually evolving, embracing new styles and techniques. Is this adaptability an aesthetic philosophy, a response to contemporary demands, or a personal inclination toward reinvention?
My practice is always evolving through new styles and techniques, which stems from a personal drive for innovation.
Much of your recent work evokes a sense of atmosphere through light, layering, and abstraction. How consciously do you think about mood when composing a piece, and what visual tools do you rely on to elicit an emotional response from the viewer?
I begin with a mental image and mood, which I initially develop digitally. The paintings starts with a very precise drawing on the canvas. From there, I build up layers of color with loose strokes and palette knife techniques, gradually letting go of the precise lines. This process, often unconscious, results in an atmospheric and vibrant whole that evokes emotion in the viewer.